The Social Network (2010): Interesting Assholes

The Social Network is David Fincher’s biopic about Mark Zuckerberg released in 2010. It was adapted from the book The Accidental Billionaires: The Founding of Facebook, A Tale of Sex, Money, Genius, and Betrayal by Ben Mezrich and it stars Jesse Eisenberg, Andrew Garfield, Justin Timberlake, and Rooney Mara (sort of). Upon it’s release, it received much critical acclaim including eight nominations at the eighty-third Academy Awards. Of these eight, it received three (Best Adapted Screenplay, Best Original Score, and Best Film Editing). It seemed like everyone loved this film… except for who it was about. Mark Zuckerberg was not so inclined to praise it, even going so far as to say he was dissatisfied. He also stated that much of the events portrayed were fictionalized. I, being of the opinion that an interesting narrative should be a filmmaker’s first priority, do not really care whether or not the events were really true. Regardless of whether the story is true or not, this is one great film. The Aaron Sorkin dialogue, Jeff Cronenweth’s cinematography, and Trent Reznor/Atticus Ross’s score make an immersive, intelligent, and gripping cinematic experience.

As stated before, this is the story of the inventor of Facebook, Mark Zuckerberg… on the surface. Below that, it is a deep character study full of so many interesting characters elevated by wonderful performances. The film starts with one of my favorite scenes in modern film. Zuckerberg (Eisenberg) and Erica Albright (Rooney Mara) are talking in a noisy bar in Cambridge, Massachusetts. Immediately, the Aaron Sorkin writing grabbed my attention and would not let go. It was so fast-paced that I found myself trying to keep up. This, though it may not seem so because of what I just said, is a wonderful. It reminded me a little bit of Network (1976) with it’s witty quips. Even though the background noise of the bar was oppressively loud, every single word cut through like a knife. Though the conversation seemed almost inhumanly intelligent, it worked. Mark Zuckerberg, or at least this film interpretation of him, seemed like the type of person who would talk with such wit.

This believability sprouts from Eisenberg’s performance. Now, I usually hate his acting. I am truly sorry if you are a diehard Eisenberg fan, but I find his stuttering unbearable and grating. There are certain films that I can tolerate his performance in, such as Zombieland (2009), but this was the perfect role for him. He played the perfect “interesting asshole.” The writing and direction probably helped him along, but his performance added so many levels to the character. I wanted to hate the jerk on the screen before me, but I just felt sorry for him and, at times, was cheering for him. The hearing scene with the Winklevoss twins* is the finest acting, I believe, Eisenberg has ever done. His was not the only surprisingly great performance, however. Andrew Garfield as Eduardo Saverin had some shining moments as well, and, like Eisenberg, I usually dislike his acting style. He did his usual whine and pout routine, but, thanks to the writing and direction (again), this was turned into something interesting. Justin Timberlake had an enjoyable performance as Sean Parker and Rooney Mara, as always, was a delight. I still do not understand why she is listed as starring. Mara has about ten minutes of screentime and I wish she had more.

As well as great acting and writing, this film had some beautiful cinematography. Fincher’s movies always have an appealing visual style (not always appealing visuals), and this is no exception. The shots of Harvard in the fall made me want to be there, the brisk winters of New England felt achingly cold, and the absence of shaky cam (a common Fincher staple) was fitting. Moreover, certain shots really made me feel something. For example, the empty chair where Saverin was exuded emptiness. Not just in space, but a void in the main character’s life. The use of montage was impressive as well. The first montage while Zuckerberg was drunk was suspenseful and the second was equally interesting.

While I’m praising the technical aspects, I cannot avoid talking about the sound design. I find sound in film incredibly interesting and I loved the sound mixing and design by Ren Klyce. Going back to the first scene of the film. At first I hated how I could barely understand what the characters were saying, but, after I adapted to the quiet dialogue, I could appreciate the realism. I thought to myself, “a bar at this time would be this loud.” I was pleased even more when this was incorporated again in the club in California. Moreover, the music adds a certain feeling to the film that had me (excuse the clichè) on the edge of my seat. This was the first time Trent Reznor scored a Fincher film and it is quite an enjoyable score. The between upbeat, electronic sounding songs and the emotional, solitary piano surprisingly work in perfect harmony (pun intended).

Overall, this is a great film. From the technical aspects to the performances, it is a wholesome film experience. It was nice not see Fincher working out of his normal “creepy and edgy” comfort zone. This is, perhaps, my favorite Fincher film, so I’d give it a solid 8.5/10. I recommend this to anyone and everyone. The Social Network is very accessible and portrays a very important part of modern pop culture and history. “We lived on farms, then we lived in cities, and now we're going to live on the internet!”